CruCon Cruise Outlet Main StagePETER FRAMPTON / THE DOOBIE BROTHERS
Magic Hat StageThe House on Cliff (5:00 PM)
Extra InformationParking Opens: 4:00 PM
Doors Open: 5:00 PM
Audio Recording: No
Video Recording: No
Flash Photography: No
Food & Drink: No
Resale Allowed: No
Delivery Delay: No
*Non-Professional photography / no zoom lenses larger than 2 inches / no detachable lenses
< Purchase >
|Reserved Seating (Covered Pavilion)-P1||$59.00||$9.75||$68.75|
|Reserved Seating (Covered Pavilion)-P2||$49.00||$8.75||$57.75|
|The Beringer Club (Covered Including Cocktail Service)||$74.00||$9.75||$83.75|
|Reserved Seating (Covered Pavilion)-P3||$34.00||$6.75||$40.75|
|Moxie Energy Lawn (Uncovered-General Admission)||$24.00||$5.75||$29.75|
Peter Kenneth Frampton is an English rock musician, singer, songwriter, producer, guitarist and multi-instrumentalist. Frampton's international breakthrough album was his live release, Frampton Comes Alive!. The album sold more than six million copies in the United States alone and spawned several hits. Since then he has released several major albums. He has also worked with David Bowie and both Matt Cameron and Mike McCready from Pearl Jam, among others. Frampton is best known for such hits as "Breaking All The Rules", "Show Me the Way", "Baby, I Love Your Way", "Do You Feel Like We Do", and "I'm in You", which remain staples on classic-rock radio. He has also appeared as himself in television shows such as The Simpsons and Family Guy. Frampton is known for his work as a guitar player and particularly with a Talkbox and his tenor voice.
Frampton first became interested in music when he was seven years old. Upon discovering his grandmother's banjolele (a banjo-shaped ukulele) in the attic, he taught himself to play, and later taught himself to play guitar and piano as well. At age eight he started taking classical music lessons. Early influences were Cliff Richard & the Shadows (featuring guitarist Hank Marvin) and American rockers Buddy Holly and Eddie Cochran, and then the Ventures, Jimi Hendrix, and The Beatles. His father introduced him to the recordings of Belgian gypsy jazz guitarist Django Reinhardt.
By the age of 12, Frampton played in a band called The Little Ravens. Both he and David Bowie, who is three years older, were pupils at Bromley Technical School. The Little Ravens played on the same bill at school as Bowie's band, George and the Dragons. Peter and David would spend time together at lunch breaks, playing Buddy Holly songs. At the age of 14, Peter was playing with a band called The Trubeats followed by a band called The Preachers, produced and managed by Bill Wyman of The Rolling Stones.
He became a successful child singer, and in 1966 he became a member of The Herd. He was the lead guitarist and singer, scoring several British pop hits. Frampton was named "The Face of 1968" by teen magazine Rave.
In early 1969, when Frampton was 18 years old, he joined with Steve Marriott of The Small Faces to form Humble Pie.
While playing with Humble Pie, Frampton also did session recording with other artists, including: Harry Nilsson, Jim Price, Jerry Lee Lewis, as well as on George Harrison's solo All Things Must Pass, in 1970, and John Entwistle's Whistle Rymes, in 1972. During the Harrison session he was introduced to the "talk box" that was to become one of his trademark guitar effects.
After four studio albums and one live album with Humble Pie, Frampton left the band and went solo in 1971, just in time to see Rockin' The Fillmore rise up the US charts. He remained with Dee Anthony, the same personal manager that Humble Pie had used.
His own debut was 1972's Wind of Change, with guest artists Ringo Starr and Billy Preston. This album was followed by Frampton's Camel in 1973, which featured Frampton working within a group project. In 1974, Frampton released Somethin's Happening. Frampton toured extensively to support his solo career, joined for three years by his former Herd mate Andy Bown on keyboards, Rick Wills on Bass, and American drummer John Siomos. In 1975, the Frampton album was released. The album went to #32 in the US charts, and is certified Gold by the RIAA.
Peter Frampton had little commercial success with his early albums. This changed with Frampton's breakthrough best-selling live album, Frampton Comes Alive!, in 1976, from which "Baby, I Love Your Way", "Show Me the Way", and an edited version of "Do You Feel Like We Do", were hit singles. The latter two tracks also featured his use of the talk box guitar effect. The album was recorded in 1975, mainly at the Winterland Ballroom in San Francisco, California, where Humble Pie had previously enjoyed a good following. Frampton had a new lineup, with Americans Bob Mayo on keyboards and rhythm guitar and Stanley Sheldon on bass.
Frampton Comes Alive was released in early January, debuting on the charts on February 14th at number 191. The album was on the Billboard 200 for 97 weeks, of which 55 were in the top 40, of which 10 were at the top. The album beat many to become the top selling album of 1976, and it was also the 14th best seller of 1977. With sales of six million copies it became the biggest selling live album, although with others subsequently selling more it is now the fourth biggest. Frampton Comes Alive! has been certified as six times platinum.
The success of Frampton Comes Alive! put him on the cover of Rolling Stone, in a famous shirtless photo by Francesco Scavullo. Frampton later said he regrets the photo because it changed his image as a credible artist into a teen idol.
In late 1976 he and manager Dee Anthony visited the White House at the invitation of Steven Ford, the president's son.
His following album, I'm in You (1977) contained the hit title single and went platinum.
He returned to the studio in 1979 to record the album Where I Should Be. Among those contributing to the album were past band members Stanley Sheldon (bass), Bob Mayo (keyboards/guitar/vocals), Chad Cromwell (drums), and John Siomos (drums/vocals).
In 1980 his album Rise Up was released to promote his tour in Brazil. The album eventually turned into Breaking All the Rules, released the next year in 1981. These albums were the first he recorded almost completely live. In 1982 Frampton re-signed with A&M Records; and in 2006 released his Grammy Award-winning Fingerprints.
Frampton continued to record throughout the 1980s. He did, however, achieve a comeback in 1986 with the release of his Premonition album, and the single "Lying," which became a big hit on the Mainstream Rock charts. Most notably, he also united with old friend David Bowie, and both worked together to make albums. Frampton played on Bowie's 1987 album Never Let Me Down and sang and played on the accompanying Glass Spider Tour.
Looking for that band experience again after touring with Bowie, Frampton kept referencing Steve Marriott, and at the beginning of 1991 rejoined his old Humble Pie mate for some shows (Marriott's last English gigs) at the Half Moon in Putney, London.
In 1994 Frampton wrote and released the album Peter Frampton, the final version of which contained material recorded on Tascam cassette recorders. Originally released on the Relativity label, this record was re-released in 2000 by Legacy Records, with four bonus tracks and additional notes by Peter.
In 1995 Frampton released Frampton Comes Alive! II, which contained live versions of many of the songs from his 1980s and 1990s solo albums. Frampton Comes Alive! II was accompanied by a video release on DVD, recorded at The Fillmore Theatre on June 15, 1995. Although there was a large amount of marketing for the album, it did not sell well. After Frampton Comes Alive! II, he recorded and toured with Bill Wyman's Rhythm Kings and Ringo Starr's All-Starr Band, where he and Jack Bruce performed a cover version of Cream's "Sunshine of Your Love".
In 2003, Frampton released the album Now, and embarked on a tour with Styx to support it. He also toured with The Elms, and even appeared in 2006 on the Fox Broadcasting variety show Celebrity Duets, paired with Chris Jericho of WWE fame.
On September 12, 2006 Frampton released an instrumental work titled Fingerprints. His band consisted of drummer Shawn Fichter, guitarist Audley Freed, bassist John Regan (Frampton's lifelong best friend), and keyboardist/guitarist Rob Arthur, and guest artists such as members of Pearl Jam, Hank Marvin, and his bassist on Frampton Comes Alive!, Stanley Sheldon.
On 11 February 2007 Fingerprints was awarded the 2007 Grammy Award for Best Pop Instrumental Album. In February 2007, he also appeared on the Chicago based PBS television show Soundstage.
Frampton released his 14th studio album, Thank You Mr. Churchill, on April 27, 2010. In summer 2010 he began touring North America with the English band Yes; the two acts had played stadium shows on a bill together in 1976. His 2010 band consisted of Rob Arthur (keyboards, guitar, backing vocals), John Regan (bass), Adam Lester (guitar), and Dan Wojciechowski (drums).
He embarked on a UK Tour in March 2011 in support of his new album, visiting Leamington Spa, Glasgow, Manchester, London and Bristol.
Frampton went on tour in 2011 with The Frampton Comes Alive 35th Anniversary Tour that showcased and followed exactly the songs on the play list for the original tour from 1976, recorded for the famous Frampton Comes Alive! The concerts each night started with the prerecorded thump of a microphone being turned on, familiar to many fans of the album, followed by the recorded voice of Jerry Pompili saying, "If there was ever a musician that was an honorary member of San Francisco society, Mr. Peter Frampton"...and then the crowd goes wild. He played the album song for song for 69 locations between June 15, 2011, and October 22, 2011, throughout the U.S.
On June 11, 2011, Frampton performed a live set for "Guitar Center Sessions" on DirecTV. The episode included an interview with program host, Nic Harcourt.
There’s no separating the unparalleled legacy of the Doobie Brothers from their latest release World Gone Crazy – not that anyone would want to. Nevertheless, the new album may be most remarkable for the extent to which it stands completely on its own. Yes, World Gone Crazy is another chapter in one of the great American music stories, but it’s neither comeback nor nostalgia. An exhibition of aggressive and emotional performances, evocative storytelling, unapologetic attitude and world class musicianship, the collection is its own justification.
In a sense, World Gone Crazy is an analogy for the Doobie Brothers as a whole. With founding members Tom Johnston and Pat Simmons, and 30 year-plus veterans John McFee and Michael Hossack, the Doobies have perfectly honored the band’s legacy with an offering that grows in unexpected new directions.
The songs on World Gone Crazy all feature Johnston and Simmons as writers and lead vocalists. Adding dimension to the project, in some cases there were co-writers involved, as well as some notable contributions or “guest appearances” by other vocalists.
Long time Doobie drummer Michael Hossack unfortunately passed away in early 2012, but his contributions on World Gone Crazy stand as a testament to his uniquely lyrical style of drumming. Producer Ted Templeman has said “He’s the first band member-drummer in a rock group that was as good as or better than any session player out there…”, and Michael’s drumming is the rhythmic backbone of the album, continuing a tradition that began with his drumming on the band’s first hit single, “Listen to the Music”.
Multi-instrumentalist Doobie veteran John McFee says “I just tried to do what I could on this project as a team player to serve the songs and the band”. Modest words from an in demand musician whose work can be heard on classic recordings with such artists as Van Morrison, Steve Miller, the Grateful Dead, Elvis Costello, Emmylou Harris, Rick James, Link Wray, Glen Campbell, Huey Lewis and the News, the Beach Boys, and many, many others.
“This album has been in the mix for five years, but we didn’t seriously start putting the nuts and bolts together until three years ago,” Johnston says. Simmons adds, “We had been compiling songs with the idea we would eventually do a record. Our old producer Ted Templeman came by tour rehearsals one day and was impressed with how we were sounding. He asked if we were doing any new material or thinking about recording. And that’s where it really started.”
Aside from a few years of inactivity in the mid-eighties, the Doobie Brothers have continued to perform, create and record for over 21 consecutive years. “The Doobies have always been about playing live,” Johnston says. “We’re not a studio hot house group and we’re not a concept album band. We’ve always just brought in the tunes we had, put them together and made an album. That’s the way it’s been from the very first album and that’s still the way it’s being done.”
Reuniting with Templeman, whose first hit record as a producer included the playing of the Doobies’ own John McFee (Van Morrison’s Tupelo Honey album featuring the song “Wild Night”), and who produced all the band’s albums through 1980, greatly influenced the project. “I’ve got a lot of songs on my home studio hard drive,” Johnston says. “That was a boon of having Teddy involved. He came up to my house in Northern California and we went through everything.”
Doobie Brothers - World Gone Crazy“Tommy gave him some demos and I did the same,” Simmons says. “It took off from there. He got together with both of us at different times, went through the material and collected certain songs he wanted to start with. We did a little warm up at a couple places and ended up cutting the basic tracks at Sunset Sound in Los Angeles.”
McFee recounts “Teddy kept asking me to submit songs, but I really felt like this project was the time for me to step back from the songwriting and let Tommy, Pat, and Ted get back to the chemistry that got this train rolling in the first place.” This from a Grammy nominated songwriter with numerous BMI awards to his credit.
Co-writers run the full spectrum from an enthusiastic young fan (P.J. Heinz) Simmons met years ago to musical icon Willie Nelson. The former contributed to the bittersweet love song “Far From Home” after years of musical encouragement from Simmons. The latter was a vocal collaboration as well, with Nelson joining Simmons in the studio for the recording of their composition “I Know We Won”, which features Doobie Brother John McFee (who, as a member of the group Southern Pacific was inducted into the Country Music Hall of Fame® and Museum’s Walkway of Stars) on banjo, mandolin, and lead guitar.
Johnston says recording hasn’t changed much, but that may be the only similarity to earlier albums. “…The way the song comes in has changed a great deal because I’m using software to write. It frees me up to write the drums, bass and everything else. I can sing the background parts and do all the guitar and keyboard parts I had in mind.” This serves as a more complete guide of the writer’s vision when the other players get together to do the actual recording.
Acclaimed pianist Bill Payne (Little Feat), Grammy award winning sax man and long time performing Doobie lineup member Marc Russo, Santana percussionist Karl Perazzo, Tower of Power horn legend Mic Gillette, Ringo Starr’s drummer of choice Gregg Bissonette, Elton John keyboard player Kim Bullard and others joined the process over an extended period. “It’s been on again, off again as much as we’ve been on the road – a lot longer than you normally spend doing an album,” Johnston says. “But we’ve also utilized that time to really fine-tune stuff. It has worked out for the best.”
Simmons agrees. “We were able to reach out a little further to do all the things on the songs we had been imagining, which in the past was not always the case. We’d run out of time or didn’t have the opportunity to do some things we wanted. Because we weren’t rushed with a deadline we were able to get to the end of our ideas so the tunes feel a lot more complete.”
“I had a guy come in and play cello on one track,” Simmons continues. “On another song I wanted to bring in our friend Norton Buffalo on harmonica. It took me a while to get it all arranged, but I was able to get that done. We went a little further this time.”
“A Brighter Day,” Johnston says, is a case in point. “The song went from okay to where it is now solely because it took us so long to do the album. That gave us the chance to sit back, listen and figure out what each song needs.”
The project also gave Templeman an opportunity to address one of his longstanding frustrations. “Nobody,” the band’s first-ever single from their self-titled debut album, was never the recording Templeman hoped it would be – particularly the hard-to-distinguish rhythm section. “The nuts and bolts are the same, but there’s an intro that wasn’t there before,” Johnston says. “John’s doing a new Dobro part and the drum pattern is different.”
As the new album’s lead single, “Nobody” brings things full circle. World Gone Crazy also offers classic Doobie style harmonies and rock edge on “Chateau.” And the rhythm guitar work on “Old Juarez,” unmistakable vocal additions from Michael McDonald on “Don’t Say Goodbye” and doubled guitar work on “Young Man’s Game” ring Doobie true.
“The rest of the tunes go to places the band hasn’t necessarily visited before,” Johnston says. “‘World Gone Crazy,’ ‘A Brighter Day,’ and other songs were written on keyboards, not guitar. The style of songs like ‘Old Juarez’ and ‘New York Dream’ are a departure from anything we’ve ever done.” Simmons’ touching ballad “Far From Home” with his distinctive finger picking guitar work augmented with cello melodies, and “Don’t Say Goodbye” featuring John McFee’s Stéphane Grappelli-like violin intertwined with Norton Buffalo’s beautiful chromonica playing also break new ground.
The Doobie Brothers' John McFee, Tom Johnston, and Patrick Simmons And if fans have any understanding of what to expect from the Doobie Brothers, it’s probably the unexpected. “In a certain sense, it’s vintage Doobie Brothers,” Simmons says. “It certainly has the two original writers and there’s a certain signature there in terms of the vocal sound that comes from each of us as writers. As far as the songs are concerned, there are elements of things we’ve done in the past and some new ways we’ve applied them. There are also some newer approaches and elements we haven’t used.”
McFee says “The one thing that has always been true of the Doobie Brothers is an avoidance of limiting the music stylistically – it’s always been about making the best music the band can do, no boundaries involved.”
“The band is the band, and that’s a good thing,” Johnston says. “You don’t want to go so far that people say, ‘Who the hell is that?’ The vocals are big identifiers as Pat and I have voices people seem to know. And a song like ‘Old Juarez’ has a Doobie-ish feel even though it’s a Latin style track.”
“That’s been the goal with all of our records,” Simmons sums. “To try to achieve that diversity but at the same time remain true to ourselves.” And if World Gone Crazy is a microcosm of the (greater) Doobie Brothers, then the Doobie Brothers are as appropriate a projection of American music as can be found in one long running association of musicians. “This band represents a lot of American music styles,” Johnston says. “From the finger-picking stuff that Pat does – and John can do as well – to blues, jazz, rock and roll. By the time you get done you’ve got, to lift a song title from another group, an American band.”
Like the nation that spawned the many musical styles they’ve adopted, the Doobie Brothers’ deepest traditions are change, growth, striving and an abiding faith in the future. And so World Gone Crazy pays tribute to the Doobie Brothers legacy the most appropriate way possible … by moving resolutely forward.